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Can someone explain the differences between these horns? Miraphone's website doesnt seem to provide any information except for the 1291???

Brasswind currently has all 3 for sale, the 1290 and 1295 in the CC outlet and the 1291 in the regular catalog. I have never seen the 1290 or 1295, thats why it intrigued me.

Why don't you call Brasswind and talk to Roger Lewis? I expect he could tell you some differences.
MA

You can't fool me, even if I AM a tuba player...

1, and 4

Don't know exact specs, but the 1290/1295 was a bit taller than the 1291. Otherwise (I may raise some Mirafone hackles here), they were pretty similar in appearance to the 1291 (sans the asymmetrical 1st branch). As I understand it (I owned a 1290 and now own a 1291), the 1295 was an attempt to improve the 1290, thus making it more marketable. Issues w/the 1290 included a somewhat stuffy low reigister (from the low/contra E downwards), tuning slides that were nearly impossible to adjust on the fly (the slides were situated way too high on the horn), a tendency towards slow response (you had to shove a lot of air through the horn to get it to speak softly, perhaps due to the heavy-gauge brass used), and the 5th valve was of the 4 semitone (2-3 combination) variety. If memory serves, Charlie Krause once told me that Micky Wrobleski (Beijing Symphony, currently) helped w/some redesign and poof, the 1295 was born. Primary improvements (based on very limited personal experience) included a re-positioning (lowering) of the upper tuning slides and a long whole step 5th valve. There may have been a different mouthpipe, but I'm not sure. Overall, the 1295 wasn't much of an improvement over the 1290, IMO. As I understand it, neither was a hot seller. Though I believe the 1291 is supposed to be an entirely different concept, there are many physical similarities to the 1290/1295.

windshieldbug wrote:You can't fool me, even if I AM a tuba player...

1, and 4

????WHAT????

Gravid wrote:Don't know exact specs, but the 1290/1295 was a bit taller than the 1291. Otherwise (I may raise some Mirafone hackles here), they were pretty similar in appearance to the 1291 (sans the asymmetrical 1st branch). As I understand it (I owned a 1290 and now own a 1291), the 1295 was an attempt to improve the 1290, thus making it more marketable. Issues w/the 1290 included a somewhat stuffy low reigister (from the low/contra E downwards), tuning slides that were nearly impossible to adjust on the fly (the slides were situated way too high on the horn), a tendency towards slow response (you had to shove a lot of air through the horn to get it to speak softly, perhaps due to the heavy-gauge brass used), and the 5th valve was of the 4 semitone (2-3 combination) variety. If memory serves, Charlie Krause once told me that Micky Wrobleski (Beijing Symphony, currently) helped w/some redesign and poof, the 1295 was born. Primary improvements (based on very limited personal experience) included a re-positioning (lowering) of the upper tuning slides and a long whole step 5th valve. There may have been a different mouthpipe, but I'm not sure. Overall, the 1295 wasn't much of an improvement over the 1290, IMO. As I understand it, neither was a hot seller. Though I believe the 1291 is supposed to be an entirely different concept, there are many physical similarities to the 1290/1295.

Thanks, that was what I was looking for...

MaryAnn wrote:Why don't you call Brasswind and talk to Roger Lewis? I expect he could tell you some differences.
MA

A few reasons.

1. It was just casual curiosity, and calling Roger would take up his valuable time trying to earn a living with someone who had no intent to purchase, just to kick a few tires.

2. I think questions like this are why we have a message board. If each time someone had a question they had to locate a composer, call a manufacturer, or contact the performer, they would waste valuable time. This is why we have a message board to share information in a quick and readily accessable environment.

3. No offense, but many times I have called Brasswind, Roger is very busy and I get someone who has no clue about tubas other than what they can locate on their spec sheet. These answers don’t provide insight like I can get here. Its nice to know the price and if it comes with a case, but a little more detail is nice.

I wasn't meaning to be sarcastic...the tone of voice doesn't carry over into type. The one time I called brasswind I had a lengthy conversation with Roger Lewis in which he was extermely helpful.

I guess he just wasn't busy that day.

MA

the differences

1291 - 1290 = 1
1295 - 1291 = 4


OK, it was lame, but it was low, slow, and right over the plate

I have played a number of 1295s and 1291s and prefer my 1290 over all of them. It just feels more "solid" than the others. It also has the best low G!